Home is, as they say, where the heart is. So who’s the guy selling you your Lipitor and what the hell are all these rats doing everywhere? In this week’s Village Voice cover story, join staff writer Elizabeth Dwoskin for a rousing, fun, morbid round of the game New Yorkers everywhere can relate to: Let’s Play “Who’s My Landlord?”!
Elsewhere in News, we’re decidedly not playing games:
There’s an old joke: How many contractors does it take to screw in a light bulb? Depends. Think we’re gonna need another estimate on that. We all know how crooked the contracting business can be. But how hard and bent are the nails they’re screwing into the law-abiding populace? Voice columnist Tom Robbins explains how one of them ended up spilling the secrets of a mobbed-out billion dollar industry recently in court, resulting in him Nailing the Mob’s Builders.
Voice food critic and de facto outer-borough explorer Robert Sietsema stays in Manhattan — and even heads a little uptown — to peep the poultry at Hill Country Chicken, which is like, a year or two late to The New York City Fried Chicken Trend? Well, you know what they say: Slow and steady wins the race! Which wasn’t at all the case here.
In Film, we’re separating those trying to game us from the game-changers we need:
Eliot Spitzer: Maybe you’ve heard of him? Just because the ex-governor’s CNN show isn’t doing well doesn’t mean he can’t “perform” with the right “talent,” as is the case with Enron: The Smartest Guys in the Room and Casino Jack documentarian Alex Gibney, who directed the Spitzer doc Client 9: The Rise and Fall of Eliot Spitzer., reviewed by Melissa Anderson.
Zach Galifinakis, Robert Downey Jr., small dog, and the guy who directed Old School. You assholes are gonna see Due Date no matter what the hell Karina Longworth says. Which is too bad.
James Franco made a biopic with Danny Boyle about the guy who amputated his own arm after a hiking accident. He plays the guy attached to the arm. Dan Kois reviews 127 Hours.
In Arts, New York gets some of the best in the game:
Theater: Michael Feingold receives messages from ye gods in the Signature Theater Company’s revival of Tony Kushner’s two-part epic fantasia on AIDS, Angels in America; Alexis Soloski finds actor Bill Camp at a “new” stage in his career with Theatre for a New Audience’s adaptation of Dostoyevsky’s 1864 novella Notes From Underground, when she’s not in DUMBO at St. Ann’s Warehouse for Enda Walsh’s Penelope; and Ruth McCann sees the Irish Repertory Theater’s Banished Children of Eve. Finally, the National Asian American Theatre Company isn’t playing games with the future, but playing in it, in their production of Jordan Harrison’s Futura, reviewed by James Hannaham .
Here at the Voice, it ain’t where you’re from, but where you’re at. That said, we very seriously take into account where you lay your hat, and as far as good reads in America go, we hope that’s us for you:
“It’s a make-it-or-break-it period for us. We do the right thing, we’ll be able to pull into the 21st century with some kind of program. We do the wrong thing, the 21st century is going to be gone, there’ll be no coming back”
“These people act like we drink a gallon of blood and hang upside down from crucifixes before we go onstage,” Rob Halford says. “We’re performers, have been for two decades. We do the show and we wear the costumes our audience expect us to.”